AW19

Gathering of the shadows. Comme Des Garçons AW19

| Design & Culture by Ed

Rei Kawakubo’s autumn-winter 2019 is the second season when the Comme des Garçons designer no longer does abstract bodies. In the collection she entitled as a Gathering of the shadows, you could sense danger: nearly all-black looks, executioner hoods, armor-like shapes, a soundtrack that definitely caused goose-bumps (think heavy, militaristic machinery, helicopters and English Victorian hymn in children voice). Some thought the show was all about defensive aggression and the terror of today’s world. Kawakubo knows what’s going on, with nationalism intensifying across the world. But maybe this wasn’t a line-up that was solely about the occurring circumstances? Rei’s shows are here for your free interpretation. I saw something very sublime about this one. A coat made from slices of leather; a black taffeta dress worn under a shell-like jacket; fishnet body-suits worn under every garment. It was avant-garde, as shocking in 2019 as back in the 80s, when Japanese designers – lead by Kawakubo – arrived to Paris with their Hiroshima chic.

Collage by Edward Kanarecki.

Bourgeois Woman. Celine AW19

| Design & Culture by Ed

Second season at Celine, and Hedi Slimane doesn’t cease to spark controversy and polarize the viewer: you either love or hate what he’s doing. This review’s going to be a bit different than usual, though. I really want to share a sort of ping-pong chat we’ve had with Jennifer (@readysetfashion), the visual merchandising manager at Blake and fashion magazine / print collector (take a look at her other account, @aparticularissue…), regarding Slimane’s autumn-winter 2019 collection. First, you’ve got to know that the designer took a 180 degree turn from his youthful, Parisian clubbing fashion we’ve had to witness last season (I still hate it!). He went to the maison’s archives and came back with a very literal reference: the 70s Celine, just as it was, suited for French, bourgeois woman. Knee-length, country-checked skirts, shoulder bags with horse-bit details, silk blouses, whiskered jeans, logo-print scarves, long boots… this woman isn’t here for partying. She’s off to Biarritz, Deauville or other ultimately French destination. From one side, it’s a collection filled with classics – classics that will always stay afloat forever. But from another side, it’s just so creatively absent. I’m utterly on fence with it. But back to my and Jen’s conversation. So, here’s how it went…

JEN: The question is does he have the right timing. I don’t see anywhere on the planet women wanting to dress like this today.

ED: I was thinking about this now. Do we really, really need it? Ok, he turned to the archives… but what now? We’re in 2019, not in the 70s after all.

JEN: Exactly. Shop at A.P.C. for cooler version of this look. Also, he can bookmark a decade like a champ. That is why people use Pinterest…

ED: LOVE THE PINTEREST PART! By the way, I had A.P.C. on my mind too. Jean Touitou does this 70s chic for seasons, wait, for decades! But he keeps it affordable and not so fussy.

JEN: I think it’s weird that everyone did an about-face with Hedi at Celine. That’s sort of scary. What does that say about today’s industry?

ED: Maybe that it’s fine to say something critical in the first place, yes. But when you’ve seen enough of it in advertising and are still invited to the show, you just have to be like: “j’adore!” Which is really sad in a way, because it’s always like that, in everything. Or maybe it’s Hedi who secretly manipulates people’s minds? Don’t know…

Collage by Edward Kanarecki.

Handsome. Haider Ackermann AW19

| Design & Culture by Ed

There’s no way you can go wrong with Haider Ackermann. “They’re handsome people—handsome girls and handsome boys,” the designer said after his show. The new collection is  the designer’s second attempt at combining women’s and men’s on one runway, and he succeeded with a smooth, beautifully synchronised line-up. “It’s not unisex; it’s about borrowing” – Ackermann summed up. He used the same materials for women and men, which gives the clothes a sense of fluidity. But also, while the models walked in pairs – girl and boy, boy and boy, girl and girl – you just couldn’t stop thinking about how good a couple would look wearing matching Ackermann bomber jackets, kimono coats, super slim pants and hot or studded leather boots. And when you note that the soundtrack was Jane and Serge’s “Je T’aime . . . Moi Non Plus”… it all made sense right away. Not only clothes were important in this show. There was love in the air. As pretty much always, I’m giving high marks to Haider.

Collage by Edward Kanarecki.

Light. Nina Ricci AW19

| Design & Culture by Ed

Paris saw two debuts at historic maisons that were originally found by women. The first was a proper, but mild restart at Lanvin by Bruno Sialelli. The second appeared to be at Nina Ricci, where Rushemy Botter and Lisi Herrebrugh took the role of creative directors. The couple have a menswear label, Botter, whose oversize tailoring and energetic humor caught the attention of the fashion world last year, made them LVMH Prize finalists and scored a top design award at the Festival d’Hyères. They’ve never designed womenswear, but LVMH gave them a blank page. So you could actually expect anything. The designers decided to play rather safe and referred to Ricci herself, whose fashion was roamntic, airy and light. Rushemy and Lisi cleared the garments of any unneeded details, like lace or embroideries, and delived a line-up of minimalist, yet feminine silhhouettes. There were organza tops and flowing gowns, but we’ve also had beautifully constructed suits and over-sized shirting. For me, this collection lacked the intrigue that Guillaume Henry (Botter and Herrebrugh’s precedessor that parted ways with the brand quite abruptly) delivered to the brand. But I’m paying attention to what’s coming from the new creative directors in the near future.

Collage by Edward Kanarecki.

The Favourite. Loewe AW19

| Design & Culture by Ed

Jonathan Anderson‘s Loewe is never straightforward. While the designer loved Yorgos Lanthimos’ incredible The Favourite film, he didn’t just knock off historic costume-wear. How genius is the pearl-beaded sweatshirt? It’s a soft nod to Queen Anne’s fixation with gorgeous jewels, and pearls of course. The white lace and black silk finale dress was also quite close to the film’s aesthetic, but transformed into something very contemporary looking. I’m always in awe with the unparalleled levels of creativity and craftsmanship that underpin Anderson’s collections – but his real genius is found in how he elevates easy, wearable fashion. Big coats with fur inserts; a dress that looks like a knit with sheer skirt; feather boas that don’t look ridiculous; crotchet jackets and tasselled skirts… oh, and of course the ‘elephant’ hat that might make absolutely no sense, but looks right in this collection. Jonathan is the king of curation. The accessory that wins the season? The new Lantern handbag that isn’t actually that new – it comes from Loewe’s archives. It’s classy shape with a lady-like clasp is so elegant. I bet if Queen Anne lived today, she would order one (or two).

Collage by Edward Kanarecki.